1783-1872 Thomas Sully Galleries Sully became a professional painter at age 18 in 1801. He studied face-painting under Gilbert Stuart in Boston for three weeks. After some time in Virginia with this brother, Sully moved to New York, after which he moved to Philadelphia in 1806, where he resided for the remainder of his life. In 1809 he traveled to London for nine months of study under Benjamin West. Sully's 1824 portraits of John Quincy Adams, who became President within the year, and then the Marquis de Lafayette appear to have brought him to the forefront of his day. (His Adams portrait may be seen in the National Gallery of Art, Washington.) Many famous Americans of the day had their portraits painted by him. In 1837-1838 he was in London to paint Queen Victoria at the request of Philadelphia's St. George's Society. His daughter Blanche assisted him as the Queen's "stand-in", modeling the Queen's costume when she was not available. One of Sully's portraits of Thomas Jefferson is owned by the Jefferson Literary and Debating Society at the University of Virginia and hangs in that school's Rotunda. Another Jefferson portrait, this one head-to-toe, hangs at West Point, as is his portrait of Alexander Macomb (American general). Sully's own index indicates that he produced 2631 paintings from 1801, most of which are currently in the United States. His style resembles that of Thomas Lawrence. Though best known as a portrait painter, Sully also made historical pieces and landscapes. An example of the former is the 1819 Passage of the Delaware, now on display at the Museum of Fine Arts, Boston.  Related Paintings of Thomas Sully :. | Lady with a Harp:Eliza Ridgely | Miss Walton of Florida | Portrait of Rembrandt Peale | Portrait of Queen Victoria (study) | The Torn Hat |
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Pierre-Narcisse Guerin
(13 May 1774 - 6 July 1833) was a French painter. Guerin was born in Paris. A pupil of Jean-Baptiste Regnault, he carried off one of the three grands prix offered in 1796, in consequence of the competition not having taken place since 1793. In 1799, his painting Marcus Sextus (Louvre) was exhibited at the Salon and excited wild enthusiasm. Part of this was due to the subject - a victim of Sulla's proscription returning to Rome to find his wife dead and his house in mourning - in which an allusion was found to the turmoil of the French Revolution. Guerin on this occasion was publicly crowned by the president of the Institute, and went to Rome to study under Joseph-Benoît Suvee. In 1800, unable to remain in Rome on account of his health, he went to Naples, where he painted the Grave of Amyntas. In 1802 Guerin produced Phaedra and Hippolytus (Louvre); in 1810, after his return to Paris, he again achieved a great success with Andromache and Pyrrhus (Louvre); and in the same year also exhibited Cephalus and Aurora (Louvre) and Bonaparte and the Rebels of Cairo (Versailles). These paintings suited the popular taste of the First Empire, being highly melodramatic and pompously dignified. The Restoration brought to Guerin fresh honours; he had received from the first consul in 1803 the cross of the Legion of Honour, and in 1815 Louis XVIII named to the Academie des Beaux-Arts. His style changed to accord with popular taste. In Aeneas Relating to Dido the Disasters of Troy (Louvre), Guerin adopted a more sensuous, picturesque style. Guerin was commissioned to paint for the Madeleine a scene from the history of St Louis, but his health prevented him from accomplishing what he had begun, and in 1822 he accepted the post of director of the French Academy in Rome, which in 1816 he had refused. On returning to Paris in 1828, Guerin, who had previously been made chevalier of the order of St. Michel, was ennobled. He now attempted to complete Pyrrhus and Priam, a work which he had begun at Rome, but in vain; his health had finally broken down, and in the hope of improvement he returned to Italy with Horace Vernet. Shortly after his arrival at Rome Baron Guerin died, on the 6th of July 1833, and was buried in the church of La Trinite de Monti by the side of Claude Lorrain.
Woolner, Thomas
1825 - 1892,English sculptor and poet. He ranks with John Henry Foley as the leading sculptor of mid-Victorian England. He trained with William Behnes and in 1842 enrolled as a student at the Royal Academy, London. In 1844 he exhibited at Westminster Hall, London, a life-size plaster group, the Death of Boadicea (destr.), in an unsuccessful attempt to obtain sculptural commissions for the Houses of Parliament. His earliest important surviving work is the statuette of Puck (plaster, 1845-7; C. G. Woolner priv. col.), which was admired by William Holman Hunt and helped to secure Woolner's admission in 1848 to the Pre-Raphaelite Brotherhood. The work's Shakespearean theme and lifelike execution, stressing Puck's humorous malice rather than traditional ideal beauty, made it highly appealing. Although eclipsed by Hunt, John Everett Millais and Dante Gabriel Rossetti, Woolner was an important figure in the Brotherhood. He contributed poetry to its journal, The Germ (1850), and his work was committed to truthfulness to nature more consistently than that of any other Pre-Raphaelite, except for Hunt. This is evident in Woolner's monument to William Wordsworth (marble, 1851; St Oswald, Grasmere, Cumbria).
Luis de Morales
(1510 - 9 May 1586) was a Spanish painter born in Badajoz, Extremadura. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion. Influenced, especially in his early work, by Raphael Sanzio and the Lombard school of Leonardo, he was called by his contemporaries "The Divine Morales", because of his skill and the shocking realism of his paintings, and because of the spirituality transmitted by all his work. His work has been divided by critics into two periods, an early stage under the influence of Florentine artists such as Michelangelo and a more intense, more anatomically correct later period similar to German and Flemish renaissance painters